Review: New York City Ballet presents George Balanchine's A MIDSUMMER NIGHT'S DREAM

Reviewing George Balanchine "A Midsummer Night's Dream" on Wednesday, May 24 was like visiting an old friend. My father took me to see it as a child soon after it opened in 1962, and while the memory fades as we grow older, Gloria Govrin in the role of Hippolyta bounding around the stage remains steadfast, never diminishing. Thank you, New York City Ballet, for the recollection and for a wonderful theatrical evening.

There have always been complaints that Balanchine did not understand drama, that his use of the so called coolly abstract stood in his way of realizing vivid theatrical images. But not here. It's true that Balanchine condenses almost the entire Shakespearean play into long Act One and then switches gear, as it were, for the concluding Act Two, an almost extended pas de deux that seems like a tender and compassionate reverie on an ideal conception of love, whatever that may mean to the thousands who have enjoyed and pondered this pas de deux for over half a century. As danced by Megan Fairchild and Tyler Angle, especially as he holds and lifts her gently in his arms, now swaying, now gently taking her hand in his, the image of a burning and inextinguishable romance remains enshrined in the Balanchine canon of passion almost rendered holy.

Balanchine relied not only on Mendelssohn's familiar music but owing to the length of the ballet, used other music from his selected works. Some are familiar, others are not. But it is surprising how right the music fits. There are some pieces I know that I never thought would be appropriate for a ballet, yet watching how Balanchine manipulates the music, not only in dance, but in mime, it's as if he provided his dancers leeway to rely on their dramatic instincts and how they could incorporate them with the music. As always with Balanchine, the steps and the action must fit the music. We have all heard his famous dictum, "Don't think, just dance," and I can see why it applies so much to "Dream". Balanchine didn't want a dancer to stand around like a rock (who would?), but rather to concentrate on the steps and the music and take it from there. Use your intelligence, but as it melds with the music. "Dream" is a lesson in that,

"Dream" connects two worlds, the fairy and the real. One thinks of the fairy as being calm, sedate. Not here. Oberon, the king of the fairy kingdom, is a contentious figure continually bickering with Titania, the queen of the fairies. And then we have the two mortal couples, Lysander and Hermia, and Demetrius and Helena, both with love problems and how to resolve them, not to mention the rustics putting on a play. Add to that Puck, fairy servant to Oberon, who puts the screws on everything, mixing up the two couples and turning Bottom into a donkey, resulting in Titania falling in love with the braying Bottom.

HHMMMM!!!!

This little incident is glossed over, whereas in Frederick Ashton's later one act version of the same play, "The Dream", it's made quite clear that Titania and Bottom are together in sexual bliss. I suppose they had their sexual peccadilloes back in Shakespeare's time too. It's just so interesting to see what 20th century choreographers could do with the unspeakable. I suppose that's what makes some of them great.

Sara Mearns was an outstanding Titania. For some reason, I never thought her an ideal candidate for Titania, perhaps almost too overpowering a presence. Yet that's what makes Mearns the dancer she is. There is no holding back; you can't mistake her for anyone else. Andrew Veyette as Oberon, Troy Schumacher as Puck, Lauren King as Helena, Erica Pereira as Hermia, Chase Finlay as Lysander, Zachary Catazaro as Demetrius, Kristen Segin as the Butterfly and Ashly Isaacs as Hippolyta all contributed vivid characterizations and dancing. As for Isaacs, I think more prominent roles will be in order. She seems destined for principal dancer.

Andrew Litton and the orchestra are also in order for congratulations. Usually with ballet orchestras I am always aware of bloopers. They tend to annoy me. Here there were none, and the way the orchestra followed the pas de deux was truly magical. I have heard a number of outstanding performances by Mr. Litton. It's about time that the NYCB had a conductor worthy of its reputation. I hope they will continue their partnership.

Onto the next season!!!!

Photo: Paul Kolnik

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